Digital BW, The Print

I too am in the market for a new printer, but it must be capable of 
producing B/W prints at least to the standard of my 1160 or my 3000. 
At the moment I am not hearing that. 
I agree that both traditional prints and Piezo prints will both show 
some color shifting under different viewing lights. With the current 
inks available, most are perfectly acceptable and give a good gamma. 
The question that I still have is:- Is the 2200 better, or not, than 
the exsiting solutions?"

Barry Foster
Who Dares Wins
--- In DigitalBlackandWhiteThePrint@y..., Truman Prevatt 
<tprevatt@m...> wrote:
> If I take - which I have done - a print for a collection of prints 
I 
> have by Howard Bond, a fairly reasonable photographer and a good 
> printer, and view them in strong sunlight, then tungsten light, 
then 
> warm florescent light, then cold florescent light, then open shade 
> "skylight," I am going to have a different color cast on the 
prints 
> since the light that is being reflected off of them is different. 
No 
> passive reflective medium can reflect neutral gray independent of 
the 
> light source. The "color shift" (which it is not really shifting 
any 
> colors - it's only reflecting what is incident on it ) may be 
subtle but 
> it will be there. Even Ansal Adams notes this in "The Print" where 
he 
> states, "I consider the best gallery illumination a mixture of 
daylight 
> and tungsten lighting. Prints that are displayed under tungsten 
light 
> will appear warmer in tone than under daylight illumination, say a 
north 
> skylight. Daylight alone is often too "cold" for optimum display 
> effects."  The "shift" may or may not be more pronounced in the 
2200, 
> but it's there in all black and white media.
> 
> My viewing area is a mixture of open skylight with reflections off 
> cypress walls and halogen track lighting. Cypress wood imparts a 
warm 
> tone to the light in the house as it does to any reflected light 
off the 
> track lighting.  I personally prefer prints on the cool side - I 
do not 
> like the to coin a term from Ansal Adams "olive green" cast of 
warm tone 
> photographs. That's why all my silver prints are toned pretty 
heavily in 
> selenium toner. My question is can the 2200 be used to produce 
what ever 
> type as far as warmth or coolness of  B and W prints I would like 
or do 
> I need to go the 1280 route with an MIS hextone setup?
> 
> Any thoughts on this. I don't want to make a 600 dollar mistake 
which is 
> about what either path will cost.
> 
> Truman
> 
> scho_2000 wrote:
> 
> > > Two issues, really: slight metamerism in the new "metamerism-
free" 
> > inks,
> > and
> > > slight crossovers in the new "perfect profiles". We all knew 
> > perfection was a
> > > bit much to ask, the question now is how acceptable the real 
world 
> > results
> > > are to individual users.
> > >
> > > C. David Tobie
> > > Design Cooperative
> > > CDTobie@d...
> > Probably quite acceptable for the casual BW printer and not 
quite 
> > acceptable
> > for the purist.  I compared a favorite image today printed on 
both the 
> > 2200 and
> > my 1270 with MIS VM.  The VM neutral/warm is probably the closest
> > comparison for overall tone.  Side by side I prefer the VM print 
> > because of the
> > deeper blacks, but I still have to wait to get my matte black 
ink for 
> > the 2200 for
> > another comparison.